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CX)PyRlGHT DEPOSIT 







A System of 

MARKING COPY 

for 

NEWSPAPER MACHINES 


I 


'Published By 

EARL R. WILLIAMS 

Indianapolis, Indiana. 




Copjn'ig-ht, 1924, by 
EARL R. WILLIAMS 
• IndianaiJolis, Ind. 


APR -7 1924 

©ClA7787‘<i8 


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Preface 


An experience as compositor and operator in 
many newspaper composing rooms has convinced 
me of the desirability, not to say need, of standard¬ 
izing the marking of copy, particularly of advertis¬ 
ing copy, to be set on machines. Not only do some 
of the marks now in use indicate different things 
in different composing rooms, but different things ' 
in the same composing ropm—each compositor in 
marking copy ascribing a meaning of his own to 
the marks used and each operator getting the copy 
ascribing a different meaning to them. A method 
thus haphazard necessarily results in misunder¬ 
standing and friction. Not infrequently it results 
in resetting the copy and consequent loss of time 
when time is important. 

All this misunderstanding and loss of time with 
consequent economic waste can be obviated by 
adopting a uniform system of marking copy for 
machine composition. Such a system, in which each 
mark, analogous to that of proofreading, means in- 
v^ariably onjy one thing, is herewith presented for 
the consideration of the craft. As an aid to the 
operator in meeting the requirement now general 
that he keep from four to six compositors supplied 
with type, its utility is obvious. 

No claim is set up to originality; many of the 
marks adopted having come down from hand-set 
lays, and all, perhaps, are now in use, some here 
ind some there, in the larger composing rooms. 



What is claimed, however, is that this is the first! 
attempt to standardize them and thus to make it; 
possible by their general adoption to mark adver-j 
tising copy in any composing room by any composi-i 
tor in such manner that any operator must know 
instantly and unmistakingly how it is to be set.] 
In addition, but as secondary, I also offer forj 
the craft’s consideration several changes, conform-' 
able to newspaper composing room practice, in¬ 
proofreading marks. Proofreaders’ marks given in 
dictionaries and manuals were adopted prior to the 
use of machines and while, in the main, they are 
adaptable to machine composition and the hurried 
work it involves, some alterations have been made 
in them by various readers acting on their own 
initiative, resulting in more or less confusion. It 
is my belief that the changes herewith proposed 
will tend to eliminate that confusion, much or 
little, and contribute to the purpose of the treatise, 
which is primarily to improve newspaper com¬ 
posing room practice in marking copy, and par¬ 
ticularly advertising copy, so that the operater 
shall know infallibly how he shall set it. 



Contents 


Page 


Marking Copy . 1 

Roman (or Light Face) . 6 

Paragraphs . 7 

Flush . 9 

Typewriter Style .15 

The Break Mark.17 

Underscored Words .19 

Short (or Catch) Lines.24 

Groups of Type .26 

Run-in ..27 

Rings .28 

Initial Letters.30 

Duplicating Reprint Copy.32 

Block Style .34 

Hanging Indention .42 

Rewriting Copy .44 

[Twin-slug Composition .45 

Matter Hung-in .47 

Side Heads .50 

Step Composition .53 

Pyramid Composition .57 

Increase and Decrease Composition.59 

Two-line Figures . 62 

Uncovering the Figures .65 





























Combination Figures .68 

Bold Figures . 70 

Menu Style .72 

Marking Proofs .74 

Daily or Preferred Copy..76 

Compositor’s Name on Copy.76 

Proofreaders’ Marks . 77 










Marking Copy 

Although the operator is left many times to use 
his own judgment in setting ad takes, this is a 
mistaken and wasteful policy. The compositor 
should never leave anything to be guessed at with 
respect as to how a take is to be set. The operator 
may be as good a printer as the compositor, or 
even a better one, but that does not give him pre- 
knowledge of v/hat the comrositor desires. He may 
be familiar with all the various styles of setting ad 
copy, but, even if such is the case, he will have to 
stop work, if the copy has not been marked, to 
figure out which style is wanted. He has to do this 
with the ever-present possibility of selecting the 
wrong style; or he has to hunt up the compositor 
to get instructions. The chances are—and espe¬ 
cially if he is a new man in the office—that he will 
adopt the former course, and go ahead and set the 
take as he has figured out it should be set, which 
may be, and many times is, radically wrong ac¬ 
cording to the compositor’s ideas, in which case 
because of the failure of the compositor to indicate 
what he wanted, the take has to be reset. 

Tn the larger offices certain compositors are as¬ 
signed to set certain department store ads. By set¬ 
ting a store's ad v:eek after week a compositor 
becomes familiar with the style des’red, ami 
tlioiiglitlessly taking it for granted that the opera- 


9 


MARKING COPY 


tor, who may be unable even to identify the copy, 
-is equally familiar with it, becomes negligent in 
writing out his instructions. 

Here is a point that most compositors .overlook: 
A compositor may work on one ad all day, but an 
ad machine operator may set “takes” of fifty or 
more ads in one day, covering many different styles. 
It would be absurd for an operator to try to memo¬ 
rize the style of each advertiser. 

What enthuse’s the majority of operators is to 
receive copy that is marked in a manner that they 
know at a glance exactly what the compositor 
wishes. 

A compositor should not get the idea that he is 
“too busy” to take time to write his instructions 
plain and clear. Up-to-date, progressive offices have 
no time for the sloppy, careless workman. When 
one gets in too big a hurry he is referred back to 
the old adage that “haste makes waste.” 

If an operator, thinking he is doing a composi¬ 
tor a favor, takes it upon himself to set copy other 
than the way it is marked, he is doing wrong. 

If the copy does not have the necessary instruc¬ 
tions on it for the operator, it should be returned 
to the compositor without being set. 

Compositors should not make a practice of giv¬ 
ing verbal instructions to operators, as one may 
readily see that if four or five compositors in suc¬ 
cession do this that the operator will be very bkely 
to forget some of them, therefore, the instructions 
should be in writing. 

Before a compositor sends his copy to the ma- 



MARKING COPY 


3 


chine he should have a clear picture in his mind 
as to how it will look set up in type according to 
his ideas, then glance over his instructions to see 
if they correspond. 

There may be times in marking certain pieces 
of copy that the compositor may have to deviate 
from the following instructions, but should mark 
his instructions very clear so as not to confuse the 
operator. 

As a rule, in offices where one operator sets, for 
example, 6-pt., 10-pt. and 12-pt. type, the operator 
should set all these sizes that the copy calls for, 
then dump his “take.” If for some reason, the 
compositor does not want, for example, the 10-pt., 
he should “ring” the copy so the operator will not 
set it. Proofs should also be taken care of in the 
same manner, with the exception of rings, as rings 
cn a proof have two other meanings. See para¬ 
graph on proofs on page 74. In case the compositor 
does not want, for example, the 10-pt. corrections, 
he should notify the operator in writing. 

As a rule, in offices where machines specialize on 
a certain size of type, the operators should not 
pass type and copy from one machine to another. 
Each operator should dump his type.at the “bank.” 
An exception to this rule will be foun... under the 
subject, “The Break Mark,” on page 17. Proofs 
should also be taken care of in this manner. 

First of all, when “running out” copy for ma¬ 
chines, a definite^ place for marking should be 
adopted. Most compositors v/rite their instructions 
at the bottom of their copy, which is wrong, espe- 



4 


MARKING COPY 


cially on a large piece of copy that has to be folded 
to fit on the “copy board” of the machine. In such 
case the instructions nece’ssarily are folded under¬ 
neath and out of sight. 

There are times when the instructions have to 
be writtefii at the side, but should, as much as pos¬ 
sible, be written at the upper left-hand corner, as 
this is where the operator starts his work, and 
should be kept together if possible. 

In case there is no space to write the instruc¬ 
tions at the upper left-hand corner, the nearest 
space to that should be used. There are times when 
a piece of scratch paper with the instructions writ¬ 
ten on it and pinned to the copy is a satisfactory 
form to use. But as a rule the copy to be set 
should be “hooked” with a pencil mark. 

At times, also, insuflicient space remains on the 
copy to write the instructions clearly. When this 
occurs the compositor should paste a piece of paper 
onto the left side of the copy on which to write his 
instructions. 

In cases where there is more than one sheet of 
copy to a “take” the instructions should be written 
on each sheet. 

In writing instructions, the measure should come 
first, the point size next, then bold, italic, capitals, 
or whatever instructions may be necessary. Fol¬ 
lowing are a few examples: 

20 Picas, 10-pt. 

17 Picas, 6-pt. Bold. Set Hanging Indention of 
1 Vz Ems. 

24 Picas. 12-pt. Capitals. Flush. 



MAnKTNG copy 


Set First 5 Lines 14 Picas, 10-pt.; Balance 19 
Picas, 10-pt. 

Set Heads 14 Picas, 12-pt. Bold Capitals, Body 
Matter 14 Picas, 8-pt., Indent Paragraphs 1 Em, 
Use Two-Line Figures, Set Floor Lines 14 Picas, 
6-pt. Bold 1 Em From Right. 

The word picas may be omitted by using a dash, 
but the word point should never be omitted. The 
Word bold should be written out, and not abbre¬ 
viated. 

The words point and capitals may be abbreviated 
to save time. 

Figure 1 shows an exception to the rule of mark¬ 
ing the measure first, the point size next, etc. 

When the compositor has several lines to be set 
different measures, he should follow the style of 
marking as used in Figure 1, 



—Priced Lower for Monday 

--Coats Are Luxurious 

oo_. Silk Hose for the Ladies 

o ———Chiffon Silk Hose 


Figure 1, 







6 


MARKING COPY 


Figure 2 shows how the type should look 
after the operator has followed the instructions' 

^ A 

in Figure' 1. 


Priced Lower for Monday 
Coats Are Luxurious 
SILK HOSE for the Ladies 

Chiffon Silk Hose 


Figure 2. 


Roman (or Lighf Pace) 

Copy to be set roman (or light face) should not 
be marked 1. f., light face, or roman^ The writer 
has seen cases where the operator mistook 1. f. 
for b. f.; the consequence was a resetting of the 
copy. The following rule for operators should be 
universally adopted; 

Set everything roman (or light face) unless 
marked otherwise. 

This rule Includes both new copy and reprint 
copy. 










Paragraphs 


Some advertisers wish their paragraphs set flush, 
others wish them indented, while others do not 
make any distinction, but leave it to the judgment 
of the compositor. 

Figure 3 is one of three “takes” that were “split 
Up” and put on three different 8-pt. machines, the 
instructions on all three ‘takes” being the same. 



IXi^Eojo 


Gyranasiti^^^oomers, $1 pr. 

Regulation cut, full, rooiay pleat¬ 
ed at the waiatlino; reinforced 
against strains; of cotton serge 
of lustrous sateen; ages 6 to 
16 years* 

Children*^^^oater8, 42.40 ea. 

Sweaters for girls and misses, of 
all-wool yarns, in coat. Tuxedo 
and slipover styles; sizes 26 to 
34, and 4 to 16 years. 

Figuri-: 3. 


One operator looked at his “take” and thought, 
by the way the copy was typewritten, that the ad¬ 
vertiser wished the paragraphs flush; one of the 
other operators looked at his “take” and decided 
to indent his paragraphs 1 em; the other operator 
thought by the measure being fairly wide that he 
should indent the paragraphs 1 M ems. The conse¬ 
quence was a resetting of two of the “takes.” 



8 


MABKING COPY 


The following rule should be universally adopted 
by operators: 

In setting ad copy, make all paragraphs flush, 
Unless marked ctherv\ice. 

If this rule is followed, the compositor will know 
that all of the paragraphs will be uniform on all 
of his “takes" without marking them. If he wishes 
the paragraphs indented, he should mark each 
“take." 

There are four ways of marking paragraph in¬ 
dentions. The proofreaders’ mark, tl.' the mark 
commonly used by editors, L ; imitating the em- 
Quad, Q, and by writing it out, Paragraphs In¬ 
dented 1 Em, 1 ^2 Ems, etc. 

The two marks and L may be used satis¬ 
factorily in marking ad copy when only 1 em in¬ 
dention is wanted. 

Imitating the em-quad is satisfactory when only 
even ems indention Is wanted. • 

When uneven ems indention is wanted, the in¬ 
struction should be written out. Example: Para¬ 
graphs Indented 1Ems, 2Ems, etc. 




Plush 


When copy is marked flush, it means flush on 
the left, therefore it is not necessary to designate 
left; but if it is wanted on the right end of the 
slug, mark it: Flush on Right. 

In Figures 4 and 6 the operator should set the 
copy line for line, the compositor then knows the 
exact number of lines he will receive. 

Operators should set all copy that Is marked 
“flush” or “flush on right” line for line, unless in¬ 
structed otherwise. 

Figure 4 shows how copy should be marked to 
be set flush. 



When "laying out** 
ads^ the compoBitoir 
Bhould, by all meansj 
think of the 

following three Instructions: 
The measure, 
the type size, 
and the style* 


Fioxjke 4, 



10 


MAIiRINa COPY 


Figure 5 shows how the type should lool? 
after the operator has followed the instructions 
in Figure 4. 


VMien “laying out” 
ads, the compositor 
should, by all means, 
think of the 

following three instructions: 
The measure, 
the type size, 
and the style. 


Figure 5. 




MAmUNCr COPY 


11 


Figure G shows how copy should be marked to 
be set flush on the right. 


V J /Hhen ‘•laying Cut^ 


ada« the composltoif 
should^ by all means^ 
think of the 

following three instruotionsf 
The measure4 
the type size^ 
and the style* 


Figure 6. 




12 


MARKING COPY 


Figure 7 shows how the type should look 
after the operator has followed the instructions 
in Figure 6. 


AVhen “laying out’’ 
ads, the compositor 
should, by all means, 
think of the 
following three instructions: 

The measure, 
the type size, 
and the style. 


Figure 7. 




MARKING COPY 


13 


Figure 8 shows the flush style, and by the use 
of the “run-in” mark, the compositor informs the 
operator that he wants the type set in four lines. 



^hlnk of tha 

following three Inetruotlons!^ 


Figure 8. 


Figure 9 shows how the type should look 
after the operator has followed the instructions 
In Figure 8. 


When ‘‘laying out” ads, the compositor 
should, by all means, think of the 
following three instructions: Tlie measure, 
tl'.o type size, and the style. 


Fjglikii: 0. 








14 


MABKING COPY 


If the compositor has a piece of copy, for ex¬ 
ample we will say two lines, and wishes it set flush 
in four lines, he should mark it with the “Break 
Mark.” All the instructions he need give the op¬ 
erator then is the measure, size of type and Flush. 
See Figure 10. 






fSien “laying out® ads,J^e oompoelto^ 
by all n6anB^|Thiijk of the 


Figure 10. 


Figure 11 shows how the type should look 
after the operator has followed the instructions 
in Figure 10. • 


When “laying out” ads, 
the conniositor 
sliould, by all means, 
think of the 


Figure 11. 




Typewriter Style 

Typeyrriter style is similar to flush style in one 
respect—that it is ragged on one end. If the com¬ 
positor has a piece of copy and wishes it set rag¬ 
ged on the r’ght, yet does not care whether it is 
set line for line, he should mark it: Typev.'-riter 
dtyle. 

Figure 12 shows a piece of copy marked for 
Typewriter Style. 



Every woman who uses Ba^eioks 
knows that they axe more than 
just "casters," You would 
hardly believe, until you 
have tried them, that suoh 
small and inconspicuous 
devices could make so much 
difference In the cost and 
comfort of housekeeping. 


Figure 12. 







16 


MARKING COPY 


Figure 13 shows how the type should look 
after the operator has followed the instruction^ 
in Figure 12. 


liJvery woman who uses Eassicks 
knows that they are more than just 
“casters.” You would hardly believe, 
until you have tried them, that 
such small and inconspicuom devices 
could make so much difference in the 
cost and comfort of housekeeping. 


Figure 13. 


f 






The Break Mark 

On a piece of copy where the compositor wants, 
for example,, the first three lines set in 10-pt., the 
next three lines set in 8-pt., and the balance in 
6-pt., and where the copy has to go to three dif¬ 
ferent machines to accomplish this, the 10-pt. op¬ 
erator should mark the copy with the “Break 
Mark" where he leaves off, then pass the type and 
copy to the 8-pt. operator to get the 8-pt. The 8-pt. 
operator should mark the copy with the “Break 
Mark” where he leaves off, then pass the type and 
copy to the 6-pt. operator to finish. 

The “Break Mark” may be used anywhere should 
the compositor wish a break in the type. 

Figure 14 shows where it was used in marking 
a couple of heads to be set in two different sizes 
of type. 





18 


MAIiKING COPY 


Figure 15 shows how the type should lool 
after the operator has followed the instruction: 
in Figure 14 . 


Cast Iron Beds 

at Very Low Prices 
Very Beautiful Are These 

Colonial Wing Rockers 


Figure 15. 








Underscored Words 

In some cases, a great amount of time may be 
saved by underscoring words, therefore, the follow¬ 
ing system should be adopted. 

There is a rule in many job printing offices to 
iset words underscored with one line in italic; two 
jlines, small capitals; three lines, capitals. 

I Newspapers, as a rule, do not use much machine 
italic, and practically no small r-^pitals, therefore, 
the job office system would not be satisfactory for 
|he newspaper. The following system has proven 
the most satisfactory for newspapers: 

Words underscored with one line, bold lower 

jGBse. 

' Words underscored with two lines, capitals. 

Words underscored with three lines, bold capi- 

i If italic or small capitals are to be used, the in¬ 
structions should be written out. 

I There are times when the advertiser v/ishes 
borne words or lines underscored with a rule, and 
jnotifies the compositor by drawing a line under 
them. If this be the case, the compositor should 
Instruct the operator to “pay no attention to under- 
Bcore's.” 





20 


MARKING copy 


Figure 16 shows how a piece of copy should be 
marked to get the desired results by underscoring. 



"Want to Live Longer?" 

DRI O BBy*S ALE 

Makes You Feel Young 

Drink it every day in the place 
of water. The more you drink of 
it the better you will like it. 

It is a wonderful aid to the 
picnic on a hot summer’s day - 
cool and invigorating. 

THE BOBBY ALE 00. 

831-23 E.Wallace St ., Penrod_l289.‘-J 

Figure 16. 


• Figure 17 shows how the type should look 
after the operator has followed the instructions 
in Figure 16. 


“Want to Live Longer?” ‘ 

MAKES YOU FEEL YOUNG * 

Drink it every day in the place of water. The ' 
more you drink of it the better you will like 1 
it. It is a wonderful aid to the picnic on a ; 
hot summer’s day—cool and invigorating. r 
THE BOBBY ALE CO. 

821-23 E. Wallace St. I’enrod 1289 ! 


Figure 17. 










MAUKINa COPT 


21 


An exception to the underscoring rule is where 
a compositor wants the majority of his "take" in 
bold or capitals, yet wants a few words or lines in 
light face or lower case. He should mark his copy 
bold or capitals, whichever the case may be, at the 
upper left-hand corner with the measure and size 
of type, then underscore the words or lines he 
wishes in light face or lower case, but he must be 
sure to mark in his instructions what the under- 
’"'‘ores in this case mean. 



If the instructions at the side do not govern the 


mderscored words, the regular underscoring mlo 
diould be followed. 


I 





22 


MARimG COPY 


Figure 18 shows how a compositor should mark 
his copy when he has to deviate from the regular 
underscoring rules. 



Want t6 Live Longert*' 
DRINK BOBBY*S ALE 
Makes You Feel Young : 


Drink it every day in the place 
of water. The more you drink of 
It the better you will like it. 
It is a wonderful aid to the 
picnic on a hot summer’s day 
cool and invigorating. 


THE BOBBY ALE 00. 


E.Wallace St. . Penrod 1289." 


Figure IS. 










MARKING COPY 


23 


Figure 19 shows how the type should look 
after the operator has followed the instructions 
in Figure 18. 


“Want to Live Longer?” 

DRINK BOBBY’S ALE, 

Makes You Feel Young 
Diink it every day in the place of water. The 
more you drink of it the better you will like 
it. It is a wonderful aid to the picnic on a 
hot summer’s day—cool and invigorating. 

THE BOBBY ALE CO. 

821-23 E. Wallace St. Penrod 1289 


i Figure 19. 

!l 

I There may be times when a compositor wishes 
jthe operator to use Two-line Figures on the copy, 
jirith the exception of a few prices which he wants 
In the regular machine bold. 

In this case the compositor should mark his copy 
tor Two-line Figures in the instructions at the 
jlide, then underscore with one line the prices he 
Wishes in the regular machine bold. 

The underscoring rule is superior at all times to 
Ithe instructions at the side, except when the in- 
ktructions at the side directly govern the under- 
jlcores as illustrated in Figure 18. 










Short (or Catch) Lines 

As a rule, operators should center all short (or 
catch) lines in one line in ad copy in upper and 
lower case, unless instructed otherwise. If the 
short (or catch) line should happen to make more 
than one full line, the operator should center the 
run-over. This rule eliminates the compositor from 
having to mark his short line's “centered." 

In case the compositor has some short (or catch) 
lines that must go line for line, and wishes as many 
as possible set in capitals, he should mark his copy: 
Caps Where Possible. 

If the compositor has a short line in his copy, 
and wishes the operator to make two lines of it, 
he should mark it with the “Break Mark" where 
he wishes it broken. See Figure 20. 

In Figure 20 the compositor also wished the 
street and phone line flush on both sides and noti- 
fled the operator by using the proofreaders' “move 
to left mark" [ and “move to right mark" ]. 

The compositor should be very careful in mak¬ 
ing these marks, not to get them curved, as the 
operator may mistake them for parenthesis. 


MARra^u} copy 


25 


/ 


Wlin3(^W^ADES 

[wa measure all shadeo one foot 
below the sill and guarantee our 
quality oloth to be better than 
any other shade oloth manufactured 
in the United States. 

Estimates Free at|M l Times 


0. (l^ARTIN & CO. 

North DaJcota*s "Blind Men. " 

— 126 E.Bell St. Blue 6183. -^ 

Figure 20. 


Figure 21 shows how the type should look 
after the operator has followed the instructions 
in Figure 20. 


We measure all shades one foot below the 
sill and guarantee our quality cloth to be bet¬ 
ter than any other shade cloth manufactured 
in the United States. 

Estimates Free at 
All Times 

NORTH DAKOTA’S “BLIND MEN.” 

126 E. Bell St. Blue 6182. 


Figure 21. 









Groups of Type 


When a compositor has two or more groups of 
type to be set, as shown in Figure 22, he should 


not instruct the operator to set the type on one ^ 
slug, as the operator would have a very difficult* 
time in getting the lines or words centered, but - 
should mark the measure of each group. This rule^ 
also applies to groups of words to be set flush,. 
stepped, etc. I 



\j Double Breaisted \ /Pencil Striped 
YRaglans, Box Hodels N Checks 
\ Ulsterettes, Etc. V^Blue Serges, Etc. 

Figure 22, 


P'igure 23 shows how the type should look 
after the operator has followed the instructions 
in Figure 22. 


Double Breasted 
Raglans, Box Models 
Ulsterettes, Etc. 

Pencil Stripes 
Checks 

Blue Serges, Etc, 


Figure 28, 




Run-in 

It was stated, under the heading .of “Short (of 
Catch) Lines” that short lines should be centered 
in one line, if not marked otherwise. Therefore, 
if the compositor has some short lines on his copy 
and wishes them run-in, one of the following marks 
should used: 



Figure 24. 




' Ring’s 


The use of rings in “running ouf’ copy for the 
machines is a very satisfactory method to use, if 
Used in the right way. There are times by using 
rings, the compositor may save himself consider¬ 
able writing. 

Operators should never set items, lines, or words 
that are ringed, unless the instructions inform 
them to “set the rings.” 

Figure 26 shows where the use of rings was very 
beneficial. 



.A Xnappy Making Others Happy 



CAfOVA* S 


Plastic Posing Dogs 
WALTE PARTNER 



Equl^J^lsts Supreme 
Pathe News, Topics, Fables 


Next Week 



Kings of Songland 


Figure 25. 



MARKING COPY 


29 


By ringing the lines he wished to display, the 
3ompositor saved himself considerable writing when 
‘running out” this ad for the machine. He elim¬ 
inated marking each line or group of lines ho 
wished the operator to set, as would have been 
necessary had rings not been used. He also in¬ 
formed the 8-pt. operator the lines he wished by 
double ringing them. 

Figure 26 shows how the type should look 
after the operator has followed the instructions 
in Figure 25. 


Happy Slaking: Others Happy 
Plastic Posing: Dog:s 

Equilibrists Supreme 

Pathe News, Topics, Fables 
Next Week 

VAN & SCHENCK 
Kings of Songland 


Figure 2G. 

If the copy'has a numeral or an abreviated word 
on it and the compositor wishes it spelled out, he 

E hould ring it and draw a line to the margin with 
he instructions: Spell Out. 












Initial Letters 

When the compositor wishes an initial lettei 
used in his copy, he should ring the letter and 
designate the number of lines he wishes the initial 
to take up. 

In composing rooms where the ad machines are 
equipped with Mohr Lino-Saws, type can be set 
not only in measurements of picas and nonpareils, 
but also in points. Therefore, under these condi¬ 
tions the compositor should subtract the width oi 
the initial letter from the full measure, then mark 
the copy, for example: 3 Lines 14 and 7 Points— 
8-pt., Balance 17—8-pt. This rule? applies to meas¬ 
ures of 30 picas and under. 

In composing rooms where the ad machines are 
not equipped with saws, the initial letter should 
accompany the copy to the machine, unless it 
measures exactly to picas or nonpareils; in such 
cases the compositor should follow the same pro¬ 
cedure as in the above paragraph. This rule also 
applies to measures of 30 picas and under. 

When initial letters are to be used in measures 
above 30 picas, they should, in all cases, accom¬ 
pany the copy to the machine, for unless the opera¬ 
tor has the initial letter so that he may determine 
the allowance'for it with quads, he will have to 
change his machine jaws and assembling mecha¬ 
nism seven times to set the type for a 3-line initial 
letter. 


MARKING COPY 


31 


If the compositor wishes the operator to use a 
machine initial (if it be possible) he should notify 
the operator in his instructions. 

Figure 37 shows how a piece of copy should 
be marked when an initial letter is to be used. 






ery home should benefit 
>y the cheerful presence 
of blooming plants. Nothing 
adds more to the charm cf a 
room than the green of a 
growing plant. Just now the 
spring blossoms are the 
favorites - primroses, cycla¬ 
men, cinerarias and hyacinths. 


Figure 27. 


Figure 28 shows how the type should look 
after the operator has followed’ the instructions 
in P^'igure 27. 


VERY home should benefit by the cheer¬ 
ful presence of blooming plants. Nothing 
adds more to the charm of a room than 
the green of a growing plant. Just now the 
^pring blossoms are the favorites—primroses, 
cy^men, cinerarias and hyacinths. 


Figure 28. 





Duplicating Reprint Copy 

If a compositor wishe’s a piece of reprint copy 
duplicated he should mark the measure or meas¬ 
ures and size or sizes of type and the instruction, 
“Same Style.” If the compositor marks the piece 
of copy this way, there should be no doubt in the 
operator's mind how to set the copy. 

The instruction “Same Style” on a piece of re¬ 
print copy, gives a world of information to an 
operator. He knows the compositor wishes him to 
duplicate the copy as nearly as possible. But if 
the instruction “Same Style” does not appear, he 
has nothing to inform him whether the compositor 
is duplicating the ad or laying out an entirely dif¬ 
ferent ad. 

Under no circumstances should an operator set 
a piece of reprint ad copy in bold, although the 
copy is set in bold, unless it bears the instruction, 
“Same Style,” or Bold. This rule also applies to 
reprint copy set in italics, capitals, etc. 

Therefore, when an operator receives a piece of 
copy that does not have any instructions cn it ex¬ 
cept the measure and size of type, he should folloAV 
the system carried out in this book. Example: 
Paragraphs flush, everything roman unless marked 
otherwise, short (or catch) lines centered, etc. 

This rule also applies to typev/ritten or manu¬ 
script copy where words or lines appear in capitals. 
If the compositor does not inform the operator to 
set the copy “Same Style,” or inform him in some 
other way the words or lines he wishes in capitals, 
the operator should set everything lower case. 


MARKING COPY 


33 


The iiistmctioii “Same Style’’ does not govern 
the size of type. 

Figure 29 shows how a piece of reprint copy 
should be marked to get an exact duplicate of it. 



^ / WOMEN’S NIGHTGOWNS, of 

jr /outing flannel, slipover style, pink 

and blue stripes, sizes 16 /|0/» 

to 17. Special at.firJ/C 

BOYS’ SWEATERS, in button 
style, colors red, brown, tan and 
blue, with collar, belt and pockets, 
sizes 6 to 10 years. (gO A A' 
Special at . 

Figure 29, 


Figure 30 shows-how the operator should set 
the copy in Figure 29 when the instructions do 
not inform him to set it “Same Style.” 


Women’s Nightgowns, of outing 
flannel, slipover style, pink and 
blue stripes, sizes 16 to 17. Spe¬ 
cial at 49c. 

Boys’ Sweaters, in button style, 
colors red, brown, tan and blue, 
with collar, belt and pockets, 
sizes 6 to 10 years. Special at 
$ 2 . 00 . - 


Figure 30. 






Block Style 

If a compositor wishes a piece of copy set Bloc; 
Style, or more commonly referred to as indente 
on each side, he should mark it, for example 
20—8-pt., Indent iVz Ems Each Side. 

Note: Ems do not mean picas—a mistake ver 
commonly made by printers. 

Some compositors, who are not familiar with th 
machine, think that the em-quad is a square o 
the size of type, which is not always the cas( 
6-pt. fonts, as a rule, have 7-pt. em quads; 8-pi 
fonts, as a rule, have 9-pt. em quads; 10 and 12-pi 
fonts generally carry an over-size quad; as a ruh 
14-pt., 18-pt. and the larger size fonts carr 
smaller em quads than the square of their size. 

The writer has seen copy marked in this style 
Set in 6-pt., 10 picas on a 14-pica slug. The marl 
ing is clear out of question. The compositor natui 
ally wanted the type face set 10 picas, centered o 
a 14-pica slug. The operator in this case had t 
set the machine jaws for 14 picas, then with a lin 
gauge, measure quads and spaces to make 2 picai 
inserting them on each side of the type matte 
to hold it into 10 picas. 

If the type matter has to be exactly 10 picai 
centered in a space of 14 picas, the compositor wi 
save a great deal of time by having the matter st 
10 picas, then center it himself in a 14-pica spac 
with slugs. 


MABKING COPY 


35 


But it is not very often the case that type set 
block style has to be even picas, so the best and 
quick€fst style is to mark the copy for example: 
14—6-pt., Indent Each Side 3 Ems. 

Another way to mark copy for block style, where 
even ems indention is wanted, is to draw vertical 
lines on each side of it, each line representing 1 
em indention. 

Where there is much type to be set block style, 
the compositor should not have the operator drop 
quads on each side to hold it in, as the compositor 
can put leads and slugs on each side of the type 
in much less time than the operator can drop quads 
on each side of it. 




MAUKlNCx COPY 


Figure 31 shows how copy should be marked 
wh€?n only a few lines are to be blocked (even 
ems being used). Each vertical line represeiiting 


1 em. 



T. W. Sharp Co. founded 50 


national organization with 
offices from ooast to ooast 
in sixty oltles* 

We will be glad to send you 
oiroulars describing Sharp's 
industrial and Sharp's real 
estate bonds which we offer 
in $1,500 $500, $300 denom¬ 
inations, to net 7 and 7^ 
per cent. Write today and 
ask for 


CIRCULAR 925 



Offices in Sixty cities. 
[- 935 Premier Bldg« Chicago 


Figuke 31. 











MARKING copy 


Figure 12 shows how the type should look 
after the operator has followed the instructions 
in Figure 31. 


T. W. Sharp Co., founded 50 years ago, has grown 
to a national organization with offices from coast 
to coast in sixty cities. 

We will be glad to send you circulars 
describing Sharp’s industrial and Sharp’s 
real estate bonds, which we offer in $1,500, 
$500, $200 denominations, to net 7 and IVa 
per cent. Write today and ask for 
Circular 925. 

Offices in Sixty Cities. 

925 Premier Bldg. Chicago. 


Figure 32. 







38 


MARKING COPY 


I 


Figure 33 shows how copy should be marked 




when only a few lines are to be blocked (uneven 
ems being used). |j 

Invest your^urpjys Honey In | 
> • Shatp’s /onda >' 


T. W, Sharp Co. founded 50 

e^rs ago/ bag grown to a 
national organization with 
offices from coast to coast 
in sixty cities. 


will be glad to send you 
circulars describing Sharp’s 
industrial and Sharp's real 
estate bonds which we offer 
in $1,500 $500, $200 denom¬ 
inations, to net 7 and 7'^ 
per cent. Write today and 
\a8k for 


CIRCULAR 925 


T. W. 0^RP 00. 

Offices in Sixty cities. 
925 Premier Bldg. Chicago. -^ 


Figure 23. 












MABKTNG COPY 


39 


h m .. . 

Figure 34 shows how the type should look 
after the operator has followed the instructions 
In Figure 33. 


!• T. W. SHARP CO., founded oO years ago, has 
grown to a national organization with offices from 
coast to coast in sixty cities. 

1 1 We will be glad to send you cir> 

I* culars describing Sharp’s industrial 

p* and Sharp’s real estate bonds, which 

II we offer in $1,500, $500, $200 de- 

I nominations, to net 7 and 7% per 

I cent. Write today and ask for 

I Circular 925. 

;• OFFICES IN SIXTY CITIES. 

I 925 Premier Bidg. Chicago. 


Figure 34. 










40 


MAUKINO COPY 


Figure 35 shows how copy should be marked 
when there are several lines to be blocked. 


Invest your us Koney in 


ft 



\j 


T. W, Sharp Co « founded 50 
years ago, has grown to a 
national organization with 
offices from coast to coast 
in sixty cities. 



We will be glad to send you 
circulars describing Sharp's 
industrial and Sharp's real 
estate bonds which we offer 
in Si,500 S500, $200 denom¬ 
inations, to net 7 and 7j 
percent. Write today and 
ask for 

CIRa^LA^925 
T. W. CO. 

Offices in Sixty cities . 

[[— 925 Premier Bldg. Chlcago .-j] 


Figure 85. 









MARKING COPY 


41 


Figure 36 shows how the type should look 
after the operator has followed the instructions 
in Figure 35. 


T. W. SHARP CO., founded 50 
years ago, has grown to a na¬ 
tional organization with offices 
from coast to coast in sixty 
cities. 

We will be glad to send you 
circulars describing Sharp’s in¬ 
dustrial and Sharp’s real estate 
bonds, which we offer in $1,500, 
$500, .$200 denominations, to net 
7 and 7% per cent. Write today 
and ask for 

OFFICES IN SIX'TY CITIES. 

925 Preraief Bldg. Chicago." 


Figure 36. 






Hanging Indention 

If the compositor wishes his copy set hanging 
indention, he should mark it so, and the number 
of cms he wishes it hung. 

Figure 3 7 shows how a piece of copy should be 
marked for hanging indention. 



The Living Room offered in 
the June iiriae Sale consists 
of a superb three-piece over- 
stuffed suite in velour or 
tapestry and a. handsome mahog¬ 
any davenport or library table* 

outfit in Queen Anne 
period design had handsome bow-end 
bed, roomy chiffonier, three-drawer 
dresser, dressing table and bench - 
five splendid pieces, sure to ap¬ 
peal to the bride who appreciates 
values. Walnut finish. 


Figure 37» 








MARKING COPY 


43 


Figure 88 shows how the type should look 
after the operator has followed the instructions 
in Figure 37. 


THE EIVING ROOM offered in the June Bride 
Sale consists of a superb three-piece over¬ 
stuffed suite in velour or tapestry and a hand¬ 
some mahogany davenport or library table. 

THE BEDROOM outfit in Queen Anne period 
design has handsome bow-end bed, roomy chif¬ 
fonier, three-drawer dresser, dressing- table and 
bench—five splendid pieces, sure to appeal to 
the bride who appreciates values. Walnut finish. 


Figure 38. 




Rewriting Copy 

There are times when a compositor can save time 
by rewriting some of the copy to be set on the 
machine. When this is done he should be very 
careful to duplicate the copy exactly. This includes 
spelling, punctuation, etc., as there have been many 
lines reset on account of carelessness. 

There are also times when a compositor has 
Several lines to recopy, some of one measure, some 
of another measure, etc. If he will group the lines 
of each measure, it will be a great help to the 
operator. 


Twin-slug -Composition 

Linotype, Linograph and Intertype machines, as 
a rule, are equipped to cast up to 30-pica slugs 
only; any measure over that necessitates casting 
the type matter on two slugs, which is called twin- 
slug composition, and is not so speedily set as mat¬ 
ter on one slug. 

In tv/in-slug composition the operator very 
frequently has to reset a line or two in order to 
make the justification of words on one slug as 
near as possible to correspond with the justification 
of words on the other slug. This statement applies 
mostly to type from 12-point on up, and to the 
narrower measures. 

For this reason, compositors should avoid, as 
much as possible, having their machine type set 
in the measures above 30 picas to 35 picas. 

If the lines of a wider measure than 30 picas 
are to be centered, they should, if possible, be cast 
ion a 30-pica slug. This will assure accurate center- 

t ig as well as result in saving time. If the com- 
ositor has a line to be centered on a wide meas- 
(ure, example 70 picas, and is in doubt as to 
iirhether it will go on a 30-pica slug, he should 
pttark it Flush on 70 picas, then center it himself. 

I About the only guide an operator has in de- 
lermining the center of manuscript lines to be 
^entered on twin slugs is his judgment of center 
irith his eyes. In typewritten and reprint copy he 









46 


MABKING COPY 


may crease the copy to determine the center, but 
this is none too satisfactory. 

Another great waste of time is for the composi-ii 
tor to have the operator set a piece of copy, for 
example, in two, three or four even lines, as th« 
operator will have to reset the-copy two or three 
times to get it to come out even line’s. Pyramid 
style, or to let the last line run where it will, H 
just as much “selling power'’ in an ad. i 








Matter Hung-in 

There are times when a compositor has an ad 
in which he wants his display heads set flush, but 
wants the body matter hung-in. We will suppose 
he is setting a two-column ad. His measure inside 
the border lining is 22 y 2 picas. He wants his dis- 
^.play heads set in 18-pt. and his body matter in 
8-pt. 

If the 8-pt. machine is equipped with a Mohr 
Lino-Saw, the compositor should inform the op¬ 
erator to saw his slugs 22 y 2 picas. 

If the machine has no saw, the compositor will 
get his 8-pt. set 19i/^ picas on a 30-pica slug. 
(Remember that type set shorter measures than 
3 0 picas on a 30-pica slug alv/ays comes on the 
right, or last end of the slug.) The compositor 
may then saw his body matter 22i/4 picas and have 
his matter hung-in 3 picas. 

This method eliminates the necessity of the 
operator’s dropping enough quads on the front end 
of his lines to hold the type in 3 picas. 

Operators are less accustomed to dropping quads 
on the front end cf their lines than they are to 
setting the type the full measure, so this method 
will get the compositor his type in a much shorter 
time. 


48 


MARKlNd COPY 


Figure 39 shov/s how the copy should be marked. 





Hats (for tie Snail Tots 


f Charmingly fashioned of silk and 
fancy braids or the airy and crispy 
little lingerie Hats and Bonnets, 
and the more oonsernative styles in 
blocked straws with ribbon streamer 
A very largo selection moderately 
priced. Priced from 79^ to |6.95 . 

New Spri^^^ats for Girls 

Poledres, velours and tweed 
mixtures - in all the new sport 
styles that are youthful and de^ 
cidely smart. Wide range of 
styles from which to select and 


V styles from which to select 
t-c- to $13.95. 


Figure 39. 






MARKING COTY ^ 

Figure 40 shows how the type should look 
after the operator has followed the instructions 
in Figure 39. 


^Easter Hats for the Small Tots 

I Charmingly fa.shionerl of silk and fancy braids 

• w- the airy and crispy little lingerie Hats and 

• Bonnets, and the more conservative styles in 
' blocked straAvs with ribbon sti earners. A very 

large selection moderately priced. Priced from 
, 79c to .$6.95. 

: New Spring Coats for Girls 

I Polaires, velours and tweed mixtures—in all the 

, new sport styles that are youthful and decidedly 

, smart. Wide range of styles from which to select 
I and priced from $9.75 to $12.95. 


Figure 40. 





Side Heads 

There are many cases where side heads are to 
be used and there are different styles of side heads. 
In this paragraph the large side head filled out 
with smaller type will be dealt with. 

The writer has experienced cases where the com¬ 
positor set an 18-pt. side head and marked the 
copy 18 picas, 6-pt., then sent the side head with 
the copy to the machine. 

This system is very wrong. The operator sup¬ 
posed that the compositor wanted three short lines 
to even up with the 18-pt. side head, but he had no 
immediate way of knowing how wide to set the 
short lines. 

The system that should be used is for the com¬ 
positor to set his side head, measure and subtract 
it from the full measure, then give the operator the 
definite information: Set Three Lines 9^-picas, 
6-pt., Balance 18 picas, 6-pt. 


MABKING COPY 


51 


Figure 41 shows how the compositor should 
mark the copy to get the desired results. 



'PR((^TY. The Standard Building 
Company owns the Standard Build¬ 
ing, Tidiloh is a five-story office 
building, located 213-217 Eant Berry 
Street, Fort Wayne, Indiana. It is 
a modern, fireproof building, 50 
^y 140 feet, located in tho 
of the business district 



^ ^ opposite the Poatoffioe. Many 
I V*\ applications for space have already 
iL A made. 


4. /IN(5q|[E. The gjross income, oonservi 
^ / tlvely estimated, will be $52,000 
Vki yearly. .After deducting operating 
i expenses, income to meet dividends 
H I and retirement of preferred stock 
^ I should be more than $30,000. This 
^ yshows an ample margin of seifety. 


Figube 41. 


I 





52 


MARKING COPY 


Figure 42 shows how the type should look 
after the operator has followed the instructions 
in Figure 41. 


The Standard Building 
' Company owns the 

Standard Building, w'hich 
is a five-story office building, located 213-217 East 
Berry street. Fort Wayne, Indiana. It is a 
modern, fireproof building, 50 feet by 140 feet, 
located in the heart of the business district op¬ 
posite the Postoffice. Many applications for space 
have already been made. 

The gross income, conserva¬ 
tively estimated, will be 
$52,000 yearly. After deduct¬ 
ing operating ex^nses, income to meet dividends 
and retirement of preferred stock should be more 
than $30,000. This shows an ample margin of 
safety. 


Figure 42. 

Other styles of side heads will be found under 
the heading of Two-line Figures. 




step Composition 

Figure 43 shows how the compositor should 
mark the copy to get the type “stepped” on the 
left, the right ends of the lines being ragged. 




•r ' /Paisley Crepes 
\ / Canton Crepes 

\/ Crepe De Chine 
N All Tyme Crepes 
\ Taffetas and 
yTri CO shams 

PmuRE 43. 


The operator should set the type line for line 
tinless instructed otherwise. See Figure 44. 


1 Paisley Crepes 
J Canton Crepes 
1 Crepe De Chine 

All Tyme Crepes 
; Taffetas and 

; Tricoshams 

1 


Figure 44. 



34 


MAm{M(7 COPY 


Figure 45 shows how the compositor should 
mark the copy to get the type “stepped” on the 
right, the left ends of the lines being ragged. 




Sit- 


n? 


'Paisley Crepes 
\ / Canton Crepes 
\J Crepe De Chine 
M All Tyme Crepes 
I Taffetas and 
V^rioo shams 

Figure 45. 


The operator should set the type line for line 
unless instructed otherwise. See Figure 46. 


Paisley Crepes 
Canton Crepes 
Crepe De Chine 
All Tyme Crepes 
Taffetas and 
Tricoshams 


Figure 46. 

When the term “step full” is used, it means the 
first line flush and the last line flush on the right. 
When marking copy “step full” the compositor 




MARKING COPY 


55 


should not designate the number of ems he wishes 
the type “stepped” because the operator will have 
to take care of that. 

If the compositor has over three lines to be 
“stepped full,” he should not have the operator do 
it for him, but should mark the copy Flush, then 
step it himself, as the operator in this case may 
have to reset some of the lines several times to 
get a perfect step. 

Figure 47 shows how copy should be marked 
to be “stepped full,” 



Children’s School Stockings 
Hi^-Grade Footwear 
Boys* Heavy Sweaters 


Figure 47. 


Figure 48 shows how the type should look 
after the operator has followed the instructions 
in Figure 47. 


Children’s School Stockings 
High-Grade Footwear 

Boys’ Heavy Sweaters 


Figure 48. 




56 


MARKING COPY 


When type is to be “stepped” on both ends, as 
shown in Figure 50, the compositor should mark 
his copy regular style, for example: 15—^10-pt., as 
shown in Figure 49, then “Step” it himself when 
he receives the type, as it would be a waste of time 
and labor for the operator to try to “step” it on 
both ends, unless he had nothing in view except 
to try out his ingenuity, 

// 

/check velour s - 56 inches 
\ \ I ^de; all-wool; in a 

\| variety of different size 
yj checks in black and white 
I and tan tone; for tailored 
I suits and skirts# Yard, 

\ $4,95 and $4,50. 

Figure 49. 


CHECK VELOURS — 56 inches 
wide; all-wool; in a variety of dif¬ 
ferent size checks in black and 
white and tan tones; for tailored ' 
suits and skirts. Yard, $4.95 and 
$4.50. 


Figure .50, 







Pyramid Composition 


Since printers use the inverted pyramid style 
much more than the “correct” pyramid style, the 
word inverted should be left off when writing the 
instructions on copy to be set inverted pyramid. 
The compositor should inform the operator how 
many lines he wishes the pyramid to make, unless 
It be immaterial. 

If the “correct” pyramid Is wanted, the copy 
should be marked: “Correct” Pyramid. 

Figure 51 shows how the compositor should 
mark the copy to get it set Pyramid. 



C3haJpge Purchases Made Balance 
of Month Will Be Posted on 
April Accounts, Payable in May# 


Figure 51. 


Figure 52 shows how the type should look 
after the operator has followed the instructions 
in Figure 51. 


Charg^e Purchases Made Balance of Month 
Will Be Posted on April Accounts, 
Payable in May. 


Figure .52. 





58 


MARXmG COPY 


Figure 53 shows how the compositor shoul^ 

_XT __X ^x X __ J.99 T-T_•-a ■ 


mark the copy to get it set “Correct’* Pyramid. 




xtgi 'r/Gharge Piirohafies Made Balance 
Y of Month Will Be Posted on 
I April Accounts, Payable in May* 


Figure 53. 


Figure 54 shows how the type should look’ 


after the operator has followed the instructions^ 
in Figure 53. ’ ^ 


Charge Purchases 
Made Balance of Month Will Be 
Posted on April Accounts, Payable in May. 


Figure 54. 







Increase and Decrease 

Composition 

Increase and decrease composition might be 
termed as “intricate composition,” as it takes much 
longer to set it than the more common straight¬ 
away composition. Therefore, It should be avoided 
as much as possible. 

When marking increase and decrease composi¬ 
tion the compositor should order his type increased 
and decreased in nonpareils and picas, instead of 
ens and ems, if it be possible. 

Figure 55 shows how the compositor should 
mark the copy to get the type increased. 


no 


MARKING COPY 


// 

/^ietness and a restful 
/ resilience to the tread 
are outstanding quadities 
in linoleum and desirable 
virtues in a floor. In a 
library, for instance, 
chairs move noiselessly 
and people move about 
without disturbing others. 
Linoleum is warm to the 
touch, and, in the differ¬ 
ent colors and patterns 
in which it is made, is 
pleasant to the sight. 



Figure 55. 


Figure 56 shows how the type should look 
after the operator has followed the instructions 
in Figure 55. 


Quietness and 
a restful resili¬ 
ence to the tread 
are outstanding 
Qualities in linoleum 
and desirable virtues 
in a floor. In a library, 
for instance, Chairs niove 
noiselessly and people 
move about without disturb¬ 
ing others. Linoleum is warm 
to the touch, and, in the differ¬ 
ent colors and patterns in which 
it is made, is pleasant to the sight. 


Figure 56. 





MARKING COPY 


61 


Figure 57 shows how the compositor should 
mark the copy to get the type decreased. 


Quietness and a restful 
reolllenoe to the tread 
are outstanding qualities 
in linoleum and desirable 
virtues in a floor* In a 
library, for instance, 
ohalrs move noiselessly 
and people move about 
without disturbing others. 
Linoleum is warm to the 
touch, and, in the differ¬ 
ent colors and patterns 
in which it is made, is 
pleeuBant to the sl^t* 

Figure 57. 



( 


Figure 58 shows now the type should look 
after the operator has followed the instructions 
in Figure 57. 


Quietness and a restful resilience to the tread 
are outstanding qualities in linoleum and de¬ 
sirable virtues in a floor. In a library, 
for instance, chairs move noiselessly 
and people move about without 
disturbing others. Linoleum is 
warm to the touch, and, in 
the different colors and 
patterns in which it 
is made, is pleas¬ 
ant to the sight. 


IhGUKE 58. 







Two-line Figures 

Department stores that use a great many two- 
line figures in their ads, usually prefer the side 
head of each item either in capitals, bold capitals, 
or bold upper and lov/er case; therefore, the side 
heads should be marked so that the operator will 
know the desired style. 

Some stores wish the dollar sign on their prices, 
others wish it left off, and others wish it used only 
when the price is in ewen dollars. But as the ma¬ 
jority wish the dollar sign used, the following rule 
should be adopted by operators: 

Put the dollar sign on all prices, unless in¬ 
structed otherwise. 

Some stores want the last line leadered out to 
the price, others wish their last line to end with 
an em dash, and others wish the last line to end 
with a period. But, as the majority of stores wish 
the leaders, used with their two-line figures, the 
following rule should be adopted by operators: 

In setting tw^o-line figures, leader the last line 
out to the price, imless one of the other styles is 
ordered. 

Another style is where the large price is to be 
used at the side of the item. The compositor 
should mark the copy so the operator will know 
whether the last line is to end with a period, em 
dash, or leadered out. 

When marking copy where there is a hand-set 
figure to be used, the compositor should measure 
the figure, subtract it from the regular measure, 


marking copy 


63 


then give the operator the following instructions; 
example: 19—8-pt., Last Four Lines 15—8-pt. 

Figure 59 shows a piece of copy marked for 
Two-line Figures. 



, - Single, 

I / ctouble bed size; heavy nap; 
I soft and fluffy; white or 
\ gray body with pretty color 
\ stripe borders; $1,50 
\ quality, each 93 ^ 

D Indian Blankat.a - Extra 
heavy, bright, attractive 
colors; desirable for day 
I bed, couch and other pur— 

\ poses; $5.00 quality, 

\ while supply lasts. 


$2.9a 


Figure 59. 






64 


MABKING COPY 


Figure 60 shows how the type should look 
after the operator has followed the instructions 
in Figure 59. 


Sheet Blanket — Single, double bed 
size; heavy nap; soft and fluffy; white 
or gray body with pretty color stripe 
borders; $1.50 quality. 



each 


Indian Blankets — Extra heavy, 
bright, attractive colors; desirable for 
day bed, couch • and other purposes; 
$5.00 quality, while supply QO 

lasts, pair . 


Figure GO. 


i 






Uncovering the Figures 

There are times when the advertiser wishes his 
pricesto extend out past the type face. This is 
called “Uncovering the Figures/’ and the composi¬ 
tor need not give the operator any instructions 
other than the measure, size of type, and “Uncover 
the Figures,” unless he desires the figures to bo 
only partly uncovered. In the latter case he should 
inform the operator to “Uncover the Figures” 1 
em, 114 ems, or whatever is desired. 

In case the compositor should wish only the first 
line above the figure uncovered, he should mark 
the copy to that effect. Example: 11—6-pt., Two- 
line Figs., Uncover First Line Above Figs. 


66 


MARKING COPY 


Figure 61 shows how a piece of copy should be 
marked for the operator to “Uncover the Figures.” 





- Imported and 


domeetlo; wood or wax; large 
assortment; attractively deco¬ 
rated and artistically tinted 
in soft shades of rose^ blue, 
French gray, mustard, robin e 
blue, violet, mahogany and 3 
Extra Special 75^. 


Stamped Luncheon Sets - Hhite 
clover bleach; new French knot 
and outline patterns; spoke 
stidh edges to be crocheted* 

One 36-inoh cloth, four 12-incb 
napkins and 3 skeins of floss, 
all for 75^* 


Figuke 61. 











MARKING COPY 


67 


Figure 62 shows how the type should look 
after the operator has followed the instructions 
in Figure 61. 


FANCY CANDL.es—I mported and domes¬ 
tic ; wood or wax; large assortment; at¬ 
tractively decorated and artistically tinted 
in soft shades of rose, blue, French gray, 
mustard, robin egg blue, violet, mahog¬ 
any and jade. 

Extra Special . 


75c 


STAMPED EUNCHEON SETS — White 
clover bleach; new French knot and out¬ 
line patterns; spoke stitch edges to be 
crocheted. One 36-inch cloth, four 12-inch 
napkins and three skeins of floss, 
all for . 


75c 


Figure 62. 








Combination Figures 


On machines where two-line figures are used, it 
is possible to make what are known as combination 
figures—the two-line figures being used for the 
dollars and the regular machine bold for the dol¬ 
lar sign and the cents; the hyphen being used to 
underscore the cents. 

But should the compositor wish the combination 
figures used, he should remember that he will not 
get his type as quickly as if the regular two-line 
figures are used, as the combination figures can 
not be as speedily set as the two-line figures. 

Figure 63 shows how a piece of copy should be 
marked for combination figures. 




[imported Dolls - Undressed, 
13 Inches tall, bisque head 
sleeping eyes, best hair- 
stuffed body, a wonderful 
doll, priced for Monday, 
at only |1.19 




[Dressed Dolls - 13 inches 
tall, a real fine imported 
doll, beautifully dressed, 
complete with hat, shoes 
and stockings; special, 
Monday only, at $12.00 


J 


I'kouiiE Go, 



MAniUNCx COPY 


69 


Figure 64 shows how the type should look 
after the operator has followed the instructions 
in Figure 


mPORTEB DOLLS — Undressed, 13 
inches tall, bisque head, sleeping eyes, 
best hair-stuffed body, a wonderful doll, 
priced for Monday, - .19 

at only . .. X_ 


DRESSED DOLLS—13 inches tall, a 
real fine imported doll, beautifully 
dressed, complete with hat, shoes and 


stockings; 
only, at . 


special, Monday S 


121 ^ 


Figure 64, 






Bold Figures 

Opcfrators should set figures that appear in body 
matter, light face, unless the compositor' instructs 
them to be set bold. This comes under the rule to 
set everything light face, unless marked otherwise. 

Figure 65 shows how a piece of copy should be 
marked for leaders and bold figures. 





$1.00 Abbott'a Saline Laxative, 74 
50fl^ Abbott's Saline Laxative, 39^ 
|l.25 Abbott's l^eumatism, 96^ 
|2.50 Absorbine, $1.98 
$1.25 Absorbine, Jr« 98^ 

Abilena Water, 340 
$1.00 Albolene Oil, 740 . 

350 Allen Uloerine Salve, 290 


Figure 65. 


MABKING COPY 


71 


Figure 66 shows how the type should look 
after the operator has followed the instructions 
in Figure 65, 


$1.00 Abbott’s Saline Laxative .74c 

50c Abbott’s Saline Laxative .39c 

$1.25 Abbott’s Rheiimatism .98c 

$2.50 Absorbine . .$1.98 

$1.25 Absorbine Jr.98c 

50c Abilena Water . 34c 

$1.00 Albolene Oil . .74c 

35c Allen Ulcerine Salve...29c 


Figure 66. 

In setting the type for Figure 65, the operator 
should have followed the style of the copy, had the 
compositor not instructed him to use leaders and 
bold figures. 













Menu Style 


There are times when a compositor receives a 
piece of copy, as illustrated in Figure 67, and 
wishe’s it set Menu Style. 

Figure 67 shows how the copy should be marked 
to get it set Menu Style. 



Thursday 


Breakfast 


Baked Apples, Com Oysters, 
Reheated Rolls, Coca. 


Luncheon 


Tomato Bisque, Crackers, 
Scrambled Eggs, Rice, 
Celery. 

Dliuier 

Potted Oysters, Marshmallow 
Sweet Potatoes, Escalloped 
Corn, Pumpkin Pie, Coffee. 



Figure 67. 









MABKING COPY 


73 


Figure 68 shows bow the operator should set 
the type, or as near that style as possible, by fol¬ 
lowing the Instructions in Figure 67. 


• TlIlJliSDAY 

I Breakfast 

I Baked Apples Corn Oysters 

^ Reheated Rolls Cocoa 

, Luncheon 

' Tomato Bisque Cra<ikers 

' Scrambled Eggs 

j Rice Celery 

< Dinner 

I Potted Oysters 

I Marshmallow Sweet ‘Potatoes 

I Escalloped Corn 

' Pumpkin Pie C( tffee 

I * - t .-i- 


Figure 68. 






Marking Proofs 

There are times when proofs look like new eopy, 
therefore there should be a distinction in their 
marking for the operator. The following style is 
Very satisfactory: The measure with a ring around 
it should be marked at the side of the proof* but 
the type should not be hooked with a pencil mark, 
as is done when marking new copy, and if the type 
is indented, the indention should be marked^ 

In the event that the operator has missed an 
error, the compositor should ring the error missed 
and send the proof back to the operator. 

Figure 69 shows a proof set hanging indention* 
6 6 1/4 picas Wide, and how it should be marked. 



Mr. and Mrs. In diarwtjwlh and t heir children have 
been suffering f ronj the wave of colds and other 
w respirational ti oubles which ha s recently visited 
the city. Thou sands who read t hese words will re- 
member that 0 octor and nutse are very important 
;jj| persons during such days. Wh at do the people 
^ have to remem ber wJio can not employ doctor and 
nurse? 


Figure 69, 




MARKING COPY 


75 


Operators will save the “bank men,” composi¬ 
tors, or whoever makes the corrections on the type, 
considerable time if they will mark the lines they 
had to reset when running in a ''see copy” or words 
left out. 

Figure 70 shows how an operator should mark 
a proof when he has had to run some of the lines 
over. 


The markdown schedule here does not 
Indicate the true value, style or fabric. 
C!ome look them over^flgui^jl^outfo^ 
^yourself. Make your/??beTier?Ti^Tlmer 
I If ever you attended a sale that repre- 
I sented a dependable, bona fide markdowh. 
^neetlng the original sale price almost 
HALF WAY in many cases, then It’s up 
to you to be one of the fortunate ones. 


jjJlt/nJ 


Figtjbe 70. 




Daily or Preferred Copy 


Every newspaper composing room should be 
Equipped with rubber stamps beariftg the different 
classifications, such as “Daily,” “Preferred,” “Early 
Section,” Etc., and every piece of copy that comes 
under such classifications should be stamped. 

Daily or Preferred copy, as a -rule, comes ahead 
of everything, therefore, it is very necessary that 
the operators should know which copy is Daily or 
Preferred. If the office has no stamps, the com¬ 
positors should write the classification on the copj^ 
tn a conspicuous place^ 



Compositor’s Name on Copy | 


Every piece of copy that goes to the machine 
Should have the compositor’s name on it. There 
are two good reasons for this^ First, there may 
be something not clear to the operator about the 
copy, or some instructions omitted. If the com-^ 
positor’s name is on the copy, the operator may 
find him without much loss of time. Second, afte^ 
the operator dumps the “take” the “bank man,’^ 
as a rule, takes care of the type and copy. If the^ 
compositor’s name is on the copy, the “bank man’^ 
cap deliver the type and copy to him immediately. 



Proofreaders’ Marks 


The following proofreaders' marks are the ones 
that are most commonly in use in the present-day 
newspaper composing rooms. 



Insert space. 


Less space. 



Equalize space. 



Insert hyphen. 



Insert 1-em dash. 



Insert 1-em quad. 


! 

I 



Insert period. 



78 


MARKING COPY 


I 


Insert question mark. 


I 


« 

t 


j 



\y 


Insert exclamation mark. 


Insert colon. 


Insert semi-colon. 


Insert comma. 


Insert apostrophe. 


Insert left-hand quotations. 


Insert right-hand quotations. 



Insert star. 



MARKING COPY 


79 


CO Tra0p 


lose mark—to be used in the type. 



( 

) 

# 

L- 

k 


Transpose mark — to be used in th<* 
margin. 


Close up. 


Insert left-hand parenthesis. 


Insert right-hand parenthesis. 


Paragraph mark. 


Paragraph mark. 


Lower case. 


Roman (or light face). 

jjUi 



80 


MAEKING COPY 


® 

9 


Is this correct? This-mark is for the 
writer of the copy. 


Upside down. 



c 


The break mark—means to -start a ne\^ 
line. 


Move to left. 


Move to right. 


X 


Move up. 


Move down. 


Bad print—fix it. 


Wrong font. 





MARKING COPY 


81 



Insert ligature. 


Insert ligature. 


Insert ligature. 


Insert ligature. 


Insert ligature. 


I 


The dele mark—take out. 


Take out and close up. 


Take out lead. 


Make no break in the type. 


I 



82 


MARKING COPY 



Capitals. 


When copy has been marked out, 
the word stet is used to convert 
it bacls; to its original state. 

ouX 

JOSLOtf^ 

Omission; see the copy. 




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